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第1题
M: Yes. The worst time is between six and seven. It sometimes takes me forty minutes to drive home. That's twice the time it does when there isn't much traffic.
Q: How long does it take the man to drive from the city to his home when there isn't much traffic?
(13)
A．Forty minutes.
B．Twenty minutes.
C．Eighty minutes.
D．Seventy minutes.
第2题
Many kinds of fiction are self-explanatory: mysteries, Westerns, love stories, spy thrillers, and science fiction define themselves by the terms used to name them. The horror story is less easily defined, perhaps because other types of fiction so often use the trappings of terror to enhance their plots. Charles Dickens used the vehicle of an old-fashioned ghost story to tell A Christmas Carol, but that book is not a honor story. Nor does a Grimm brothers fairy tale such as Hansen and Grate with its child-devouring witch, belong to the genre.
The nature of the horror story is. best indicated by the title of the 1980s television series Tales from the Dark Side. Human beings have always acknowledged that there is evil in the world and a dark side to human nature that cannot be explained except perhaps in religious terms. This evil may be imagined as having an almost unlimited power to inspire anxiety, fear, dread, and terror in addition to doing actual physical and mental harm.
In the tale of horror quite ordinary people are confronted by something unknown and fearful, which can be neither understood nor explained in reasonable terms. It is the emphasis on the unreasonable that lies at the heart of horror stories. This kind of literature arose in the 18th century at the start of a movement called Romanticism. The movement was a reaction against a rational, orderly world in which humanity was basically good and everything could be explained scientifically. The literary type that inspired the horror story is Gothic fiction, tales of evil, often set in sinister medieval surroundings. This original kind of horror fiction has persisted to the present.
In his novel, Edgar Allen Poe _______.
A．integrated the description of beauty into his horror story
B．used a lot of typical descriptions of horror stories
C．was universally considered as the father of horror story
D．combined a touch of sadness in his description of horror
第3题
What is the point made by the example in the following paragraph? Thirty-four years ago, the man whose life we celebrate today spoke to us down there, at the other end of this Mall, in words that moved the conscience of a nation. Like a prophet of old, he told of his dream that one day America would rise up and treat all its citizens as equals before the law and in the heart. Martin Luther King’s dream was the American Dream. His quest is our quest: the ceaseless striving to live out our true creed. Our history has been built on such dreams and labors. And by our dreams and labors we will redeem the promise of America in the 21st century. (The Journey of Our America Must Go On）
A、Martin Luther King was like a prophet of old times.
B、Martin Luther King’s words moved the conscience of a nation.
C、We will redeem the promise of America in the 21st century by our dreams.
D、All citizens should be treated as equals before the law and in the heart.
第4题
What is the first thing that people ought to do in face of pollution, according to the author?
A．To see the sky outside in the morning.
B．To walk outside to see the colored sun.
C．To take care of, and prevent air pollution now.
D．To analyse the different layers of air pollution.
第5题
In the case below decide which maxim of the cooperative principle has been flouted, please give your reason. Can you decide what implicature might be drawn? (1) ---How did the math exam go today, John? --- We had a basketball match with the other class and we beat them. (2) --- What is your name? ---I’m John Smith, 30, unmarried. (3) ---Teacher: (towards the end of a lecture) What time is it now? ---Student: It's 10:44 and 35.6 seconds. (4) ---A: Shall we get something for the kids? ---B: Yes. But I veto I - C - E - C - R - E - A - M.
第6题
During the same decade, in the court of one European queen, "the gown worn by a fashionable lady in attendance contained 1,100 yards of material not including lace and other ornaments." American women of wealth were also wrapped in an abundance of cloth. While makers of jeans worried over how many men could be fitted into a given amount of cloth, for women of wealth the concern was with how many yards of cloth could be attractively arranged upon a given individual. This was the mark of prosperity: to wear enough material on one's back to clothe many of more modest means.
The fashionable rich could not imagine themselves wearing the vulgar canvas pants of workers and "peasants". Neither could working-class people reasonably imagine themselves in the costumes of wealth and power. Tile only fashion link between them—subtle at best—was the stern top hat of wealthy capitalists, a coal-black cylinder symbolizing the factory chimney pipes that brought profit to one, hardship to the other. Blue jeans only signified labor and sweat.
Years later, the clothing of nineteenth-century laborers would assume new and different meanings. Humble beginnings became increasingly obscure within the unfolding of popular culture. In the movies, the horse riders of the early cattle industry were reborn as symbols of a noble, rural simplicity, and blue jeans became conspicuous within the landscape of the American media. On the screen these pants teased the imaginations of city folk, who longed for a simpler and less corrupt life. While laborers would continue to wear them at work, now the well-off might put on a pair at home or in the garden—an escape from the discipline of the business world.
In the 1950s, blue jeans became a statement by those who wished to boycott the values of a consumer-based society that was concerned only with acquisition. Blue-jeans-wearing rebels of popular movies were an expression of contempt towards the empty and obedient silence of Cold-War America; the positive images of American consumer society were under siege. What had been a piece of traditional American culture—blue jeans—became a rejection of traditional culture.
In "Save the promise that they would be ready for the next day's tabors"(Para.1), the word "save" means ______.
A．rescue
B．preserve
C．put aside
D．except
第7题
A．Within 10 working days from the date of the contract.
B．Within 20 working days from the date of the contract.
C．Within 30 working days from the date of the contract.
第8题
Mr. Starr is too good a historian to offer any pat explanation; instead, he concentrates on the extraordinary array of people and events that have led from the mythical land of Queen Calafia, through the rule of Spain and Mexico, and on to the governorship of Arnold Schwarzenegger, an iron-pumping film star with an Austrian accent. Moreover, he does so with such elegance and humor that his book is a joy to read.
What emerges is not all Californian sunshine and light. Think back to the savage violence that accompanied the 1849 Gold Rush; or to the exclusion orders against the Chinese; or to the riots that regularly marked industrial and social relations in San Francisco. California was very much the Wild West, having to wait until 1850 before it could force its way to statehood.
So what tamed it? Mr. Starr's answer is a combination of great men, great ideas and great projects. He emphasizes the development of California's infrastructure, the development of agriculture; the spread of the railroads and freeways; and, perhaps the most important factor for today's hi-tech California, the creation of a superb set of public universities.
All this, he writes, "began with water, the sine qua non of any civilization." He goes on cheerfully to note the "monumental damage to the environment" caused by irrigation projects that were "plagued by claims of deception, double-dealing and conflict of interest".
One virtue of this book is its structure. Mr. Start is never trapped by his chronological framework. In-stead, when the subject demands it, he manages deftly to flit back and forth among the decades. Less satisfying is his account of California's cultural progress in the 19th and 20th centuries: does he really need to invoke so many long-forgotten writers to accompany such names as Jack London, Frank Norris, Mark Twain or Raymond Chandler?
But that is a minor criticism for a book that will become a California classic. The regret is that Mr. Starr, doubtless pressed for space, leaves so little room--just a brief final chapter--for the implications of the past for California's future. He poses the question that most Americans prefer to gloss over: is California governable? "For all its impressive growth, there remains a volatility in the politics and governance of California, which became perfectly clear to the rest of the nation in the fall of 2003 when the voters of California recalled one governor and elected another."
Indeed so, and Mr. Start wisely avoids making any premature judgment on their choice. Ills such as soaring house prices, grid locked freeways and "embattled" public schools, combined with the budgetary problems that stem from the tax revolt of 1978 would test to the limit any governor, even the Terminator. As Mr. Starr notes, no one should cite California as an unambiguous triumph: "There has al-ways been something slightly bipolar about California. It was either utopia or dystopia, a dream or a night-mare, a hope or a broken promise--and too infrequently anything in between."
The phrase "sine qua non" in Line 1, Para. 5 possibly means ______ .
A．the essential elements
B．the premise
C．the contribution
D．the advantage
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